Here are a few rough cuts that I compiled together for like the first layer of my animation. I know there are some major icky parts but I also feel like there is some great experimentation going on. The major issue is resolution within these short clips and I will be able to fix that by just exporting my vectors at a higher dpi. The next step is to add the second layer of automatic drawing on top then add in the scene of it panning out.
I didn't know that it would take freaking forever to get a stable result from the bulge effect but overall I am learning how to control it more so my initial test is pretty sloppy...but I am having fun.
Schedule: Thursday, Nov. 12 - HAVE MAJORITY OF MY ASSETS DONE AND READY FOR REVIEW.
Tuesday, Nov. 17 - START PRODUCING SOME OF THE SCENES AND EDITING FOOTAGE OF ANYTHING THAT IS DONE.
Thursday, Nov. 19 - GET A FINAL REVIEW BEFORE THE BREAK OF WHERE I AM WITH MY SCENES AND POSSIBLY HAVE SOME MUSIC PICKED OUT. PREP THE PROJECT FOR PRODUCTION OVER BREAK.
Tuesday, Nov. 24 - SHOW UP WITH A HALFWAY DECENT OVERALL RUN THROUGH OF WHAT THE ANIMATION IS AND MAKE ANY NECESSARY REVISIONS.
Thursday, Nov. 26 - WORK ON THE KINKS AND START TO TIGHTEN UP THE ANIMATION. HAVE IT READY FOR REVIEW.
Tuesday, Dec. 1 - CONTINUE TO WORK ON FIXING ANYMORE PROBLEMS AND EDIT THE FINAL VERSION.
Thursday, Dec. 3 - HAVE A FULL RUN THROUGH ON THE FINAL AND CONTINUE TO HAVE REVIEWS ON IT.
Tuesday, Dec. 8 - LAST CHANCE TO DO ANY MAJOR CHANGES.
Thursday, Dec. 10 - FINAL IS DUEEEE!!!
Asset Checklist: Textures: A. paint splatters B. ink washes C. coffee stains D. brush marks E. cardboard background
Subject: A. Multiple compositions ready to be overlayed. B. Composites done in 3D of background activity.
Colors: A. Study and find colors that evoke a certain emotion.
Music: A. Possibly compose or find royalty free music that helps push the concept of the automatic drawing.
Render: A. RENDER OUT EACH PIECE SEPARATELY TO CUT DOWN ON OVERALL RENDER TIME. TAKE THIS SHIT INTO FUCKING CONSIDERATION!!!!!
I really tried to come up with something in my head that would make sense for a complete animation and it took freaking forever because I was thinking a lot about the aesthetics and trying to convey some type of story. The only thing that I could think of in terms of revising a synopsis is having a piece already pre-made into seperate parts and just have itself appear to be drawing. On top of that I want to add more complexity to it by having a way to show it all without having to zoom in and out. So now I am thinking largely about how scenes were handled in the 60s and 70s with split screens and such. The animatic on the other hand wasn't a complete failure but it didn't do much for me because I couldn't think of any actions at the time. So instead I did further research to try and flesh out my idea a little more which is included in this post.
I was super excited to see Bill Plympton and have a master class with him. I grew up with seeing his illustrations and animations thanks to my older brother. I loved his master class because seeing his process was really enlightening. I can't say enough that his style is just so prominent with the sketchiness that I would hate to see it fully rendered out "Disneyesque". After the lecture he gave me some valuable insight on who he was before becoming an animator. He told me that he started out as a graphic designer to help support himself and it launched into an animation career because of his love for drawing. If you work hard enough for your dream it will come true in some fashion. I admire that honesty because most artists would sugar coat it.
LOGLINE Expression of the self through the fluidity of line.
SYNOPSIS The idea is not to produce a piece that conveys any true story or emotion but to allow the viewer to draw whatever they are feeling from the imagery. The movie invokes the viewer's intuition and opens up their mind to tell a story or emotion.
